O worship the King, all glorious above – Text: Robert Grant  (1779-1838) / Music: Melody and bass William Croft (1678-1727)

 

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O worship the King, all glorious above, this Sunday’s offertory hymn in church, is found in nearly one hundred hymnals published in this and the last century. Few hymns have achieved such popularity in the Christian church. Written by Robert Grant (1779-1838), and based on a paraphrase of Psalm 104, it first appeared in Edward Bickersteth’s Christian Psalmody 1833. The first three stanzas are a paraphrase of the opening of the psalm, but the last three dwell upon the care, the mercy, the power, and the love of God. Two phrases shine out above all others: “pavilioned in splendour” and “O measureless might.” In them the unique character and strength of the hymn rest.

There has been some considerable debate as to the identity of the composer of Hanover, the tune to which this hymn is invariably sung. In some instances it has been attributed to Handel, but most evidence points to the authorship of William Croft (1678-1727). The tune first appeared in A Supplement to the New Version of Psalms by Dr. Brady and Mr. Tate in 1708. The subsequent name of the tune is probably due to its supposed association Handel, who was appointed court conductor at Hannover in 1710.

An important characteristic of the tune is its triple rhythm. Apart from Tallis and Gibbons, such rhythm is rare in church song prior to 1700. If the tune is indeed by Croft, then it marks an important point in the development of a freer style in church music.

O worship the King, all glorious above;
O gratefully sing his power and his love;
our shield and defender, the Ancient of Days,
pavilioned in splendour and girded with praise.

O tell of his might, O sing of his grace,
whose robe is the light, whose canopy space;
his chariots of wrath the deep thunderclouds form,
and dark is his path on the wings of the storm.

The earth with its store of wonders untold,
Almighty, thy power hath founded of old,
hath stablished it fast by a changeless decree,
and round it hath cast, like a mantle, the sea.

Thy bountiful care, what tongue can recite?
It breathes in the air; it shines in the light;
it streams from the hills, it descends to the plain,
and sweetly distils in the dew and the rain.

Frail children of dust, and feeble as frail,
in thee do we trust, nor find thee to fail;
thy mercies how tender, how firm to the end,
our maker, defender, redeemer, and friend.

O measureless Might, ineffable Love,
while angels delight to hymn thee above,
the humbler creation, though feeble their lays,
with true adoration shall sing to thy praise.

Gerald Harder

Messe à trois voix – André Caplet (1878-1925)

View the Kyrie here:

Lord have mercy, Christ have mercy, Lord have mercy.

View the Sanctus/Benedictus here:

Holy, holy, holy Lord, God of power and might, heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest.

View the Agnus Dei here:

Lamb of God, you who take away the sin of the world, have mercy upon us.

Lamb of God, you who take away the sin of the world, have mercy upon us.

Lamb of God, you who take away the sin of the world, grant us peace.

Although remembered mainly as an orchestrator and editor of unfinished works by his close friend Claude Debussy, André Caplet (1878-1925) was a solid composer in his own right, working in the Impressionist style of his time and place. His music revolved mainly around the voice. Within Debussy’s Impressionistic harmonic manner he developed a personal style, marked especially by wide-ranging, improvisatory-sounding melodies. Additionally setting his music apart from Debussy’s is a taste for plainchant and a general interest in archaic music.

Composed in 1919-20, Caplet’s Messe à trois voix, this Sunday’s setting of the Mass ordinary in church, had its first performance on June 13, 1922 at the Sainte-Chapelle in Paris, under the direction of the composer. Starting from a single B flat, the three voices gradually emerge to give the main motif of the Kyrie which will, each time, be stated in one voice before being punctuated at the end by the other two. Unison voices are more frequent in the Sanctus (on “Benedictus” and “Hosanna”), and the Agnus Dei presents the most accomplished example of the rhythmic flexibility sought by Caplet, less by using irrational values than by multiplying the poco ritardando and poco accelerando, sometimes in the space of the same measure.

Gerald Harder